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nclkafilms · 1 year

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Does niceness last when meaninglessness hits?

(Review of ‘The Banshees of Inisherin’ watched on the 26th of January 2023)

When Martin McDonagh releases a new film, I am instantly intrigued being a big fan of ‘In Bruges’ and his latest film ‘Three Billboards Outside Ebbing, Missouri’, which saw him receive more mainstream recognition with 2 Oscar wins and 7 nominations to top it off. Thus, it was with huge expectations, I went to the premiere of his latest film, ‘The Banshees of Inisherin’, which not only sees him reunited with ‘In Bruges’ stars Colin Farrell and Brendan Gleeson, but also has secured him even more recognition and attention with no less than 9 Oscar nominations, including the elusive Best Directing nod, that he was snubbed for with ‘Three Billboards’. Banshees is more like ‘In Bruges’, but mostly it is completely its own bringing a fresh, thought-provoking and highly entertaining mix of pitch-black, dry Irish humour and existential dread in the midst of both national and personal crises to the table.

The story takes place on Inisherin, a small fictional island that overlooks the Irish mainland on which the civil war is raging with blasts and smoke clouds being a constant reminder of the ongoing battles. Here we meet Pádraic who is on his way to his friend Colm’s house to invite him to their daily afternoon beer at the pub. However, this day something is odd. Colm doesn’t want to go and as a matter of fact, he doesn’t even want to interact with Pádraic who is left in disbelief. Everything was okay yesterday, wasn’t it? What happened to cause this change of heart or could it be, that Colm - even worse - all of a sudden just stopped liking Pádraic? As Pádraic desperately tries to understand the situation, Colm grows increasingly annoyed until the day where everything takes a dramatic turn and Colm threatens to cut off a finger every time Pádraic disturbs him. This throws the confused Pádraic into the arms of Dominic, who is not only the son of the island’s police chief but also deemed the “village idiot”. What is Pádraic to do? Should he seek solace at home with his sister Siobhán and their animals, who never lets him down? Should he follow the often alcohol-fulled roads of Dominic? Or should he try to convince Colm to come to his senses despite the risks of ignoring his threat?

Pádraic is in his core a very simple man, yet in the hands of Colin Farrell his complex character is unfolded beautifully. From his initial confusion to his growing frustration and simultaneous deroute, Farrell embodies all of Pádraic’s emotions, while also producing laugh after laugh in his often witty interactions with Jonjo the pub owner and Jenny, his miniature donkey and - perhaps - closest and dearest friend. Ultimately, Pádraic ends up as an interesting character study. There are clear signs of depression in his traits, and it is in his meeting with the meaninglessness of his world (and existence) that Farrell takes his acting to a new level in my opinion. His mannerisms and voice work hides a depth in his character that suits McDonagh’s often razor sharp dialogues perfectly. As in ‘In Bruges’ Farrell plays opposite Brendan Gleeson, who - in the role of Colm - is much more reserved and mysterious. He first of all excels in being the blunt of the two friends and the scenes in which he confronts Pádraic are terrific. Colm is a talented violin player and he is doubting his existence; he feels a need to achieve something in life before it is too late. It is in Colm’s despair that Gleeson finds his biggest playing field and makes us reflect the most; because how long will niceness last when the world shows us its chaos and the fact that we all have an expiration date? When is it time to be egoistic? And can you really just end a friendship from one day to another? While Gleeson is perhaps the least showy of the film’s four big acting performances, he and McDonagh creates an interesting character in Colm.

Farrell and Gleeson deliver some of their finest work ever, but it is - in my opinion at least - actually the supporting cast that are the true stars here! Barry Keoghan, while balancing on the fine line of overacting, steals every scene he has as the equally annoying and endearing Dominic. On the surface, he is the “village idiot”, the black sheep of the island, but he not only holds tragic secrets but also surprising insights slowly revealed the more we get to know him. With Dominic, Martin McDonagh once again shows a talent of creating surprisingly likeable and nuanced characters who on the surface level and often in their behaviour is everything but likeable. One of the best scenes of the film is between Dominic and Pádraic’s sister Siobhán at a lake. Dominic does and says things that makes it hard to like him, but thanks to Keoghan’s acting both we and Siobhán cannot help but also show some care for him. A scene which also highlights the perhaps strongest performance in the film: that of Kerry Condon as Siobhán. Caught in between protecting her brother and wanting to escape the fecking dull prison that is the island, Siobhán is both strong-willed and caring. Condon, much like Keoghan, steals every scene she has, and manages to not only show compassion for her brother but also speak the truth without holding back. A true breakthrough performance! Finally, I feel the need to highlight Pat Shortt as Jonjo the pub owner; his line delivery in the almost lyrical dialogues had me laughing plenty of times, and Sheila Flitton as the mysterious Mrs. McCormick constantly present in the outskirts of the storyline as an ominous presence.

While the acting plays a huge part in why this film is such a brilliant viewing, it wouldn’t be a McDonagh film without his characteristic and sharp writing. With Banshees he manages to tell a story without much going on and certainly without any major, sudden changes in suspense. Yet, it flows perfectly and I couldn’t wait for each new scene. While I can totally understand why some people will be looking for the more classic narrative composition, the slow moving storyline worked perfectly for me. The interesting thing here isn’t why Colm all of a sudden doesn’t want to be friends with Pádraic; it is to see how they both react to this meaningless change of events with one forcing himself to focus inwards and the other slowly being forced to it by the actions of his previous friend. It is too see how difficult it is to break out of patterns in an enclosed society. And to realise how the world seems to be slowly ignoring everything that used to be sacred. Additionally, only a few writers manage to write such witty dialogue as McDonagh does here; the exchange of lines flows like a perfectly composed melody often spiced with his signature dark humour.

On top of a great script, McDonagh has put together a team that simply makes the film an utter delight to watch and listen to. Ben Davis’ cinematography is beautiful and contributes some great views of the island, and especially a series of atmospheric montages were visual highlights for me. Mikkel E. G. Nielsen - fresh off an Oscar win for his editing of Sound of Metal - edits the film flawlessly and plays a huge part in the great flow of the film and the melodic nature of the dialogue. Not even close to being the most showy editing, but that just goes to highlight that his more invisible editing is just as important in creating good, cinematic experiences. Finally, Carter Burwell delivers another moody and atmospheric score for McDonagh. A score that never takes center stage, but helps highlight the sombre, reflective atmosphere of the story.

McDonagh brings (for him) typical topics to the table: the nature of friendship, the study of violence causing violence, and the recognition of outsiders. But he also draws clear parallels to the civil war simultaneously raging on the mainland and how wars and conflicts, which we often struggle to find meaningful, can change our relationships and conditions of life from one instant to another. I also could not help but feel Colm’s often excessive need to be dramatic and (perhaps unfairly) blunt towards Pádraic as a comment to the current climate of societal discussion. All in all, ‘The Banshees of Inisherin’ is McDonagh bringing his best as a writer and a director, a feast of wonderful actors giving it their best and a delightfully crafted treat of slow-paced comedic drama. Right up my fecking alley!

4,5/5

#Oscars 2023 #95th Oscars #Academy Awards #Film Review #Movie Review #The Banshees of Inisherin #Martin McDonagh #Colin Farrell #Brendan Gleeson #Barry Keoghan #Kerry Condon #Best Picture

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thesinglesjukebox · 5 years

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AMERICAN FOOTBALL FT. HAYLEY WILLIAMS - UNCOMFORTABLY NUMB

[6.17]

thesingl esjukebox

Vikram Joseph: On American Football's 1999 debut album (and, for some 17 years thereafter, their only album), laconic, meandering guitar lines intertwined and diverged, set against a pillowy backdrop of woozy horns and jazz-tinged percussion; Mike Kinsella's vocals drifted in and out like conversation through patches of broken sleep, feeling more like another instrument than a driving force for the song. The songs were rarely streamlined, but in their soft drift they captured, with heart-stopping precision, something ephemeral and intangible -- sunlit fields and slow dusks, an essence of youth and summer. "Uncomfortably Numb" is the Before Midnight to the Before Sunrise of their early songs: older, harder, burdened with regrets and worn down by disappointment. It's more conventionally structured than any other American Football song, borne on a crisp, clean, cyclical Plans-era Death Cab guitar line, and some of Kinsella's lyrics (not always his strongest suit, and better as hazy evocation rather than narrative) are a little on-the-nose ("I blamed my father in my youth/now as a father, I blame the booze"). But it builds a melancholy beauty all the same, Kinsella's voice interweaving with that of Hayley Williams in the flickering chorus; "The lessons are so much less obvious the further you get from home," rings awfully true. The solutions don't present themselves so easily when the issues get this hard to unravel. [7]

Iris Xie: How does one capture the sadness and tenderness at inevitable breakdowns, and the connected hope and sorrow that ties together such tragedy? Through a production that imitates the warmth of moving amongst muted pastel clouds, for muddled psyches and safe spaces. The creation of the space, which facilitates and echoes the depth of the relationship and their connected interiorities, is conveyed through the glowing guitars, patient drums, soft harmonizing, and evocative but hazy lyrics, and sets the environment for a simultaneous warmth and distancing, with endless compassion. There is this beautiful sound in the background where I can't tell whether it's one of the singers slowly humming in the back, or it is a gently played horn, but it is chilling in conveying their not telepathic, but almost as connected, thoughts, even from a distance. When their voices overlap, they glimmer. As Williams sings over his monologue, it results in an incredibly succinct expression of their struggles: "Now I'm used to struggling (tied to a contortionist)/for two"; his last two words are swallowed, giving an impression that he may only be starting to come to terms with how he is hurting for both him and his inner child, while she understands too well what is occurring as an outsider. This conveys clarity in what level of disaster is occurring, as he continues to turn away from home. Unfortunately, there lies the familiar tale to many womxn-identified folks, because Williams's POV remains at home, frustrated and exhausted after her sacrifice. They echo as they distance: "I just want you home/I'll make new friends/In the ambulance." The instrumentals empty out to a lingering, uncertain optimism, and complete this quiet hush of family tragedy. There are no harsh disasters here -- just the slow, ebbing progression towards the rock bottom, from which up is the only way to go. [10]

Joshua Minsoo Kim: As I get older, I find myself far more attuned to the melancholic music of singer-songwriters written in adulthood than in youth. That's partially because so many of these earlier albums -- from Down Colorful Hill to Songs About Leaving to American Football's debut -- defined my teenage years, but also because they featured incredibly overt depictions of angst and malaise. American Football's music post-reunion is far less insular, and with their aging band members comes a more precise portrait of my current life: one characterized by the ability to function in the real world despite persistent, unceasing depression. In other words, the emotions here are palpable because they're less flashy -- after all, histrionic melodrama will only draw attention to one's own childishness, and we're all trying to avoid that, right? With "Uncomfortably Numb," Mike Kinsella finally makes the song I've always wanted him to make. On "Bad News" and "Ugly on the Inside," he delivered harrowing diatribes against friends that I personally read as songs written for himself (this line of thinking being an obvious projection of my own self-hatred). But here, he enlists Paramore's Hayley Williams to take on the role of a wife who's hurt by his decisions. Her topline is unmistakably Kinsella's (the "clear"/"see-through" line being a dead ringer for his lyrical style), so this track does give the semblance of Kinsella addressing himself, but I'm mostly reminded of conversations I've had with my sister; my parents never quite understood or acknowledged my depression, so my sister was the only family member who was evidently concerned about my mental health. But after years of my sister dealing with me, I understand that if she ever caught me in the worst of states again, there would be this mix of pain and compassion and tiredness that Hayley so effortlessly captures here. Her feature is doubly affecting because she represents a generation of emo bands that came after American Football's, highlighting how Kinsella is still succumbing to these habits and mindsets perpetuated by depression. The twinkling guitars and winding drums act to remind listeners of why it can be so hard to break free; the instrumentation is as pretty as anything on the 1999 debut, but it's also incredibly familiar, incredibly safe. When depressive thoughts and actions feel like the warp and weft of your being -- the typical non-solution to dealing with hardship or success or anything at all -- it's easy to default to such a mode of living, even when the numbness is uncomfortable. [9]

Iain Mew: As a dad who just lost my dad, I'm doing the mental equivalent of holding my hand in front of my face to avoid looking at this directly. Except it's all so gentle, nothing but chiming charm, that it's more like the recent time that the sunlight through my office window was perfectly lined up with the corner of my eye but I couldn't even see it there, just notice that my eyes kept watering. [6]

Thomas Inskeep: Never have heard them before, this is American Football, the supposedly legendary emo band? Because "Uncomfortably Numb" sounds uncomfortably like a soft Jason Mraz song. Emo as Adult Contemporary in 2019: who knew? [3]

Jonathan Bradley: The first time I heard the word "emo" was from the tracklist of Blink-182's Dude Ranch; they had named one of their songs this because it sounded a bit like Jimmy Eat World. I didn't know that then, so I got on to a search engine through my high school's computer lab -- school had internet, unlike home -- and AltaVista or Ask Jeeves wondered if I might be looking for Emo Philips. Or maybe an emu? Blink's intentions remained occluded for a few more years until I caught a chance airing of a Get Up Kids song on the radio, which led me to SongMeanings' deconstructions of Sunny Day Real Estate and early Pitchfork pans of The Promise Ring. Then the girl in my drama class with the cool hair who changed her name told me I had to listen to Death Cab because "Photo Booth" was "the most emo song ever." At a time when music gleamed with such bright intention -- even the "alternative" acts of the time, like Korn or Green Day, performed in spit-polished block capitals -- these foreign bands I glimpsed through newly connected dial-up sounded like nothing else: they could be muted, they could be unhewn, they could be obtuse. They were American, but a model of Americanness that was unknowable in Australia then. They were always, in a way mass culture seemed to discourage, unfailingly and embarrassingly earnest. I never heard American Football in 1999; we had the internet at home, but my precious download quota was spent, by chance, on Braid and Texas is the Reason. Hearing the shivering guitar tendrils of "Uncomfortably Numb" now, with its calm and studied drum figures, drops me vividly back into those days. Mike Kinsella's plain voice arcs modestly over the fussiness, melding at times indistinguishably with that of his stylistic successor Hayley Williams, and maybe its only beautiful in the context of the late 20th century. But no; it is beautiful now, too. [8]

Will Rivitz: "I'll never forget the first time I heard American Football because, like, you don't forget the halcyon summer before you depart your home city and go to university," begins a review of the band's reunion LP three years ago, and I think that's pretty on the mark for how people about my age consume and relate to this kind of emo. So much of its appeal is a nostalgia for times we were too young to know when they were happening and, a few years after that, a nostalgia for that nostalgia, the age at which this was the music punching our collective gut. It's weird and a little difficult to articulate: there's something comforting about looking back at other young adults when you yourself were one, understanding that, despite differences in musical diets and environments and technology and what have you, a college-aged guitar virtuoso is probably going to have the same sorts of fears you do. That, I think, is what makes emo's particular nostalgia so powerful; as late-teenaged walking and talking existential crises, we found solace in looking back. We learned that the late-teenaged walking and talking existential crises of a few decades back both captured how we felt with stunning accuracy and, often, made it through alive, helping us feel both less alone and less desolate. Even nostalgia has its limits, though, and though there's no obvious line to demarcate absolutely everything that can be contained in emo's resonant power, it seems reasonable to conclude that Hoobastank is not one of those things. [3]

Will Adams: Wisely restrained, dreamy but devastating, and generally pleasant to hear. At least during the moments it doesn't remind me of "The Reason." [6]

Tim de Reuse: The only good things about American Football's post-reunion material have been the parts that kinda sound like they could've been written back in the nineties, when their crisp, angst-driven debut wormed its way into the hearts of many a disaffected suburbanite. Judging by this single, it looks like their 2019 album is gonna be gaudy, covered in sparkly reverb and dramatic electric guitar tremolos -- and I'm not thrilled about that -- but while I sharply disagree with their sound engineer, I can't fault the composition itself, or the gorgeous (as always) showing by drummer Steve Lamos, or the choice of subject matter. Teenage stress gives way to directionless middle-aged depression: "How will I exist," he says, and there's a weird pang in my chest I didn't expect to get from a band that spent 14 years broken up. [6]

Alfred Soto: I hope these guys gave their engineer a bonus: boy, do those arpeggios sparkle. "Uncomfortably Numb" sparkles to muddled effect, for what they recorded is a valentine to anomie disguised as a depiction. [5]

Ian Mathers: I'm not sure what I expected (having not paid much attention back in the day) when I finally got around to hearing all these reunited or still going post-emo acts, but it sure wasn't for it all to be so determinedly, shapelessly... pleasant. I feel like I enjoyed it, but 10 seconds after it stops it's already vanished from memory. [6]

Alex Clifton: There are a lot of lovely quiet moments in this song with the rolling guitar in the background and some gorgeous harmonies between Hayley Williams and Mike Kinsella; this is more of the music I always wanted to hear Williams do. But something about it doesn't punch me the way it should. A song called "Uncomfortably Numb" should at minimum wedge itself under my skin with some hard truths about life I'd rather not acknowledge; if it wants to go harder, it should leave me devastated. But there's a lot to be said for the numbness here; try as I might to feel for these people, I can't conjure the feeling. [5]

[Read, comment and vote on The Singles Jukebox]

#American Football #Hayley Williams #indie rock #emo #music #music writing #review

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mzhong2014 · 5 years

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Reading digest 8/4-8/10

What It's Like to Learn You're Going to Die

“Nessa Coyle calls it ‘the existential slap’—that moment when a dying person first comprehends, on a gut level, that death is close. For many, the realization comes suddenly: ‘The usual habit of allowing thoughts of death to remain in the background is now impossible,’ Coyle, a nurse and palliative-care pioneer, has written. ‘Death can no longer be denied.’”

Ironically, this article about death made me think more critically about what it means to be alive. Death is not simply a physical experience, but also one of the soul. I believe that your soul experiences multiple deaths of the nonphysical form throughout life that fundamentally alter the Self -- the death of a romance, death of friendship, the death of a dream, etc. Although these experiences may reappear, they are never reincarnated in the same form, creating a sense of permanence of these nonphysical deaths. So long as one is still living, one is always surrounded by death.

Perhaps change, both good and bad, can only be done through the death of parts of the Self -- hence why change is so painful. But in the process of destroying and morphing the Self, one is faced with existential questions of what is intrinsic to the Self. If nothing is intrinsic, then does the Self truly exist?

“In this crisis, some people feel depression or despair or anger, or all three. They grieve. They grapple with a loss of meaning. A person’s whole belief system may be called into question because ‘virtually every aspect of their life will be threatened by changes imposed by the [disease] and its management,’ Lee has written. In a small 2011 Danish study, patients with an incurable esophageal cancer reported that after their diagnosis, their lives seemed to spin out of control. Some wondered why they had received a fatal diagnosis, and fell into despair and hopelessness. ‘I didn’t care about anything,’ one patient said. ‘I had just about given up.’”

Religion aside (which is not a trivial parameter to constrain), physical death is the ultimate destruction of the Self because it destroys both the conscience and the body. Although I have never had a near-death experience, I have had moments in my life where an essential part of my Self was stripped away, leading me to spiral into self-destruction as my perception of reality loses all grounding. During these existential crises, the Self is reduced to the physical body as foundational beliefs that distinguish us from fully functioning robots are blown up into smithereens. Death presents the possibility of rendering all meaning meaningless by denying the existence of both the conscience and body.

Given the overwhelming difficulty of conceptualizing death, I found the following excerpt particularly interesting:

“Palliative-care doctors used to think that a patient was either in a state of denial or a state of acceptance, period, Rodin says. But now he and his colleagues believe people are more likely to move back and forth. ‘You have to live with awareness of dying, and at the same time balance it against staying engaged in life,’ he says. ‘It’s being able to hold that duality—which we call double awareness—that we think is a fundamental task.’

Whether or not people are able to find that balance, the existential crisis doesn’t last; patients can’t remain long in a state of acute anxiety. Coyle has found in her work that later peaks of distress are not usually as severe as that first wave. ‘Once you’ve faced [death] like that once, it’s not new knowledge in your consciousness anymore,’ she says.”

To live in the face of death is perhaps to feel so acutely what it means to be alive because living is no longer defined in a vacuum of false immortality, but in negation with death. Using this analogy for the nonfatal deaths experienced throughout life, these moments of acute pain remind us what it means to live, and thus what it means to die. But to continuously live in agony of death is to define life as purely a shadow of death, a permanent and unconquerable state of being. Unable to continuously live in this duality, the concept of death shows the limitations of the human mind. But perhaps those who are more able to strike this balance are those who can appreciate simultaneously the concept of life and death. Just as how living makes us fearful of dying, death makes us more appreciative of life and how much we have to lose -- not just of our physical existence, but also of our soul.

He’s Your Destiny. Just Be Patient.

In every single relationship that I’ve had, I always run up against the following question: Do you just know when you’ve met the right person? Or does your partner become the right person through hard work and patience of both parties?

As someone who is a strong believer in free will but also has compulsive overthinking tendencies and is prone to identifying patterns in meaningless trends in this noisy and chaotic world, my philosophy has wildly oscillated from believing in the ability of sheer willpower to overcoming incompatibilities to trying to concoct a scientific framework of key inputs to forecasting the future of a relationship.

This article is quite fitting because it shows us the irony of life, both in creating incredibly unlikely circumstances that seem to follow the narrative of a certain trajectory, as well as in surprising us with outcomes far from what one had expected. For Stefanie, the author, this irony is encapsulated in a tarot card reading. During this reading, the author learns that she will 1) soon leave NYC, 2) face a career of unexpected turns, and 3) reunite with her ex in three years time but will have other relationships that don’t work out in the meantime.

The first two come true, and after leaving NYC for Detroit, she meets a guy named Brandon.

“I fell very much in love with Brandon. There was no lightning strike of certainty but rather a slow warming that grew into something sweet. I wanted to marry him, and I told him so. I daydreamed about painting walls and walking dogs and all of the ways in which we would build a future together.”

After two years of falling in love with Brandon, Stefanie moves to LA for her work and finds herself in the same city with the ex she is destined to be with. One can only imagine how everything leading up to this moment has been a journey towards that destined love, that all of the pain and heartbreak, learning and growing, has prepared her to reunite with the One.

“I finally wrote an email to my ex.

‘Hey’” I began casually, as if this greeting had not weighed heavily on me for ages. ‘It’s been so, so, so, so long. I live in LA now and I know you know that. I guess I’m hoping it’s finally time to have coffee and say hi? Whaddya think?’

After three years of wondering, I had to wait only a few hours for his response.

‘Yo yo,’ he wrote. ‘I appreciate the guts it must’ve taken to reach out, but I’m not really interested in grabbing coffee, sorry. I do sincerely hope everything in your world is awesome though!’

And that was that. No destiny. No lightning strike. No certainty written in the cards.”

A few months later, Stefanie and Brandon break up because they have drifted apart from each other and have become different people.

“We didn’t break up because the cards said we would, nor was it a failure of the cards that my ex and I didn’t reunite. I chose to believe in the possibility that there was some perfectly pre-written story that I was only playing a role in, but there was no pre-written story for Brandon and me. There’s no pre-written story for anyone.

And isn’t that part of the bargain we strike with our partners? That we are willing to live together inside of a story being written rather than a story already told? And that trying to see the future before it happens is just an attempt to make the terrible uncertainty about being in love, and staying in love, a little easier to bear.“

I love the ending of this article because it shows the absurdity in trying to predict the future as it unrolls, creating narratives out of disparate crumbs of faded memories and desires. It doesn’t answer the question of whether there are people out there destined for us or whether the success of a relationship is a result of sheer luck and hard work. It tells us that we don’t know, and that we choose how to cope with this uncertainty. But regardless of whether a relationship is fated to be, this does not deny the love that one feels when there is something “true and deep” between two people.

November Rain

I really love this song, and more generally, Guns N’Roses. The raw emotions in the song and lyrics capture the essence of emotional vulnerability.

“When I look into your eyes I can see a love restrained But darlin' when I hold you Don't you know I feel the same

Nothin' lasts forever And we both know hearts can change And it's hard to hold a candle In the cold November rain”

The imagery in the last two verses in this stanza shows the fragile, ephemeral, and fickle nature of love.

“And when your fears subside And shadows still remain, oh yeah I know that you can love me When there's no one left to blame So never mind the darkness We still can find a way 'Cause nothin' lasts forever Even cold November rain”

After a great guitar solo, Rose sings these verses that I find to be so magnetic. It’s a message of hope, but tempered hope. Just as love fades and dies, even darkness must eventually subside.

Putin plays judo, not chess

I found this to be a really clever analogy for Russia’s strategy in the international stage considering how judo is one of Putin’s favorite past times (how I pity Russian athletes that are pitted against him.)

“In judo, a seemingly weaker practitioner can rely on inner strength and force of will to defeat a larger, stronger foe. One basic technique involves putting an opponent off balance and taking advantage of his temporary disorientation to strike a winning blow. Mr. Putin has proved adept at seizing opportunities presented by the West’s disarray and its leaders’ indecisiveness. He had a plan to restore Russia as a great power when he took over from Yeltsin; the U.S. has had no comparable strategy in the post-Cold War era, and Russia has taken advantage against its much stronger competitor.”

AKA US needs to get its cybersecurity policy together.

Being a Law Firm Partner Was Once a Job for Life. That Culture Is All but Dead.

One of my biggest qualms of going to law school to practice law is the incentive system. Lawyers are billed on hours worked, not sales generated or results delivered. Thus, I was surprised that this article paints this shift towards a compensation model found in finance and consulting negatively. The hourly billings model creates an incentive for longer hours regardless of the quality of the deliverable, which trickles down to the associate-level and creates this poor work culture that already faces workaholic pressures by virtue of being client-facing.

Also, this shift in model doesn’t necessarily mean that being a partner is no longer a cushy position. This doesn’t change the fact that partners would still take profit sharing of retaining client relationships, which they should be able to do as long as they don’t seriously screw up anything. I also don’t think that partners should get an easy pass once they achieve this rank. If you’re making that much as your annual salary, your value-add better be worth a few million dollars.

Gun Policy in America: An Overview and What Science Tells Us About the Effects of Gun Policies

I find gun policy to be one of the most frustrating and mindboggling issues in politics. How can both sides of the aisle react so vehemently to the tragedy of mass shootings, yet have such different conceptions of what are their root causes and appropriate policy reactions? Additionally, why is this issue so partisan? Do gun issues symbolize the partisan disagreement on protecting personal rights at the expense of greater safety of the nation or clashing of personal identities between the isolated inhabitants of rural regions and the disconnected elitists of metropolitans? I’m not exactly sure why gun regulation has become so divisive, but I do know that protecting people’s lives should rise above the petty politics of partisanship.

RAND, a global think tank that covers both domestic and international policy issues, has tried to dissect these issues in an objective, nonpartisan, and analytical manner. From its preliminary research, what is clear is that there isn’t enough conclusive and rigorous research on gun policy, and that the government should appropriate more funds for researching gun regulation. In fact, “the U.S. government has spent just 1.6 percent as much on gun policy research as it has on research involving causes of similar levels of mortality in the United States, such as traffic accidents or sepsis” (Morral). I don’t know if this is because of lobbying efforts from pro-gun organizations, but investing in high-quality research is one of the first steps to fixing this issue.

A few issues with researching gun policy include the lack of reliable data sets and the inconsistent categorization of different gun policies. Data sets are limited in sample size and the availability of historical information. New policies affect only a small fraction of guns purchased every year of the population of gun owners (e.g., prohibitions against the mentally ill). The lack of historical data makes it difficult to establish a causal relationship between passing gun regulation and perceived changes in gun violence. The difficulty of establishing strong evidence for a causal relationship between gun regulation and gun violence, however, may be a chicken and the egg problem. If there aren’t enough examples of states passing gun regulation, there aren’t many case studies to draw from for analysis.

Despite the difficulty of researching gun regulation, there are a few gun policies with strong evidence of its impact on gun violence. RAND defines supportive as having three studies showing significant effects in the same direction using two independent data sets, with no other studies of comparable or greater rigor contradicting its findings.

Interestingly, studies on child-access prevention laws are able to draw from larger data sets because of a larger proportion of gun-owning households also have kids (e.g., in contrast to the population of gun owners that commit domestic violence). There is also moderate evidence that background checks reduce suicide and violent crime, and that prohibitions on the mentally ill decrease while stand your ground laws increases violent crime.

Also, just because a policy has inconclusive evidence on its impact on reducing gun violence, this doesn’t mean that the policy is ineffective. Rather, there isn’t evidence to prove its effectiveness – unsurprising, given the relative rarity of mass shootings (which is unfortunately changing as we speak).

However, it is fair to claim that even if with more conclusive evidence on gun policy, this would not bring our government any closer to a political resolution on how to effectively regulate gun ownership. For example, climate change issues have strong evidence for the relationship between manmade pollution on global increase in temperatures. However, the lack of rigorous and conclusive research makes it even more difficult to agree on any changes in gun policy, which is clearly needed to curb recent increases in gun violence.

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